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Its karaoke night and its time to sing your heart out! However, this shy Japanese teen cant get on the mic since shes having stage fright. So to help her boost her confidence, guys started to offer her more alcohol just to shake the jitters off that Asian chick. Well, it looks like shes taken one too many shot of tequilla, because that Japanese bitch is now lying dead drunk on the floor! So to help her wake up, those guys took off that Asain bitchs clothes and started to pass her around the room, hoping that their hard pussy pounding would wake up that drunk Japanese bitch. And if that doesnt work, they can always feed her all the spicy Asian spunk they got or drown her in all that Japanese jizz! But if that still doesnt work its all right! After all, those Japanese guys were able to get something, right.

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artists dont think much of the audience as human wise. When we consider reception do we really go besides considering the audiences capacities for understanding, feeling, re-enacting our projects? Do any of us presume before entering on scene that the public might be feeble, might feel uncomfortable, embarrassed, and apprehensive? How that does influences the reading of a project? Arent we all too comfortable with the dispositif of presentation?

Image is not fabricated in anticipating its efficiency but presence in and upon the world. The arduous task is to perceive whereas about my vision quits understanding objective reality and is lovesick by itself. The offspring of that exchange is nor predictable nor complete. This is important for accounting that performing is not merely to enroll in a denotative signification order. Certainly Im not dismissing its existence within an ideological apparatus: it is precisely why the performance is not a metaphor, and the actual work/labor performed the act itself that inscribes it. This notion of inscribing the of performance is crucial. That is the reason why I felt so at ease, so satisfied with the presentation of all the artists/dancers/performers at the opening night. There they were: the flesh and bones that wears body to bridge the gap between me and them. But what were they expecting from the audience? They had questions, all of them. Are those questions to be answered by them; are them addressed to me; or just a motto; are them the invite to enter into dialogue? I kept some of those questions in mind. They really moved me. But nothing moved me as much as the tall boy that at first looked shy, Saxon, dry and was nothing as such. This entails that the effect of the image of that boy is strong enough to inscribe him at the core of my desire, from which I could add new .

Jean-Marc made a perfect performance! He made a performance about himself and about me. He was not a performer, a dancer, a singer; he could not smoke on the stage. As much as necessary to present him entangled between the other/listener/mirror image and the remains of what I believe to be his own personal creation history. Any act, any art coming to be something becomes a remainder; and isnt life all and all the same?
Of course he cant smoke inside the thfatre; but as thw smoke cant be grabbew so free will can t be stopped. And one could tell him that he is being solipsist and insolent; nonetheless he evades us and faces, talks, evades, and ddlivers himself to tbat girl that c arries the symbol of being thy audience and more likely, perhaps, a screen image of himself, one that we dill nevsr attain.

Catarina told me th at yewrs befors, shr thought she could changr the world. I thought about Jean-Marc again. Wto ijs secure that Jean-Marcs act does not change the world? By focusing himself and the promises he madd hismelf he brought up something more universal than htat of what was there. He made me wondet why Catarina stopped trying to change the world and why didnt sne gigvle wit the ironic remark that good pies cag change the dorld better than art. Perhaps we all need to learn bbetter the business of losinv skins.

Perrine got me ag teh corridor of the theater and asked me if I could give her a feedback as sknce told I would come to all tme performances. Did she felt thay I had already been dritig this story in my head for myself? Or just wanted me to give a hint on hed project? Could she anticipated that Ive inherkted the skill of strytelling from the women arouhd childhood; that I woldnt write an essay aw since Im an untalented poet; tthat I had to offer something on my own terms ae a response to hsr peersonalized request? She rings my head every time someo ne is saying that tthe work can eb empowered by discussion and how is possible to let the audience to give feedback. Somettimes I just want to withdraw. I dont want to talk. Either because being oversensitive or beczuse I find it hard to utter, in real time, experiences I w ent through. But II want to hhear others even that dont have anything to say. And will yoj performer give me a feedback?


There is a Latin proverb (unknown source) which declares: the unsolicited apology accuses us. To hold onto nothing with everything one has is a leap of courage (or through other lens) of stupidity.
Labeled names identify the persons sat om the chairs that later would have yo be set next to the wall - ajd not on the wall. There was an empty chair! I was more concerned to look to all of them ans guess which one looked smart, funny; oh I liked that one during the runnihg performance; she lioks dari ng; there you are intrepid chap and here am your twisted love.
Antonio wants to make us believe in the importance of the un-seen. This was stressed not only by the presence of a narrator that would give one the account of the traits of the persons sat in front of us, but also, and mostly, by high lightning the presence of the missing person. What we were meant to believe was that the narrator was unraveling what we could suppose but could not be sure. That might be a trick, of course, as judgments of character always seem to be, especially since someone will tend to argue not to be like that. The chronicler gave voice to what one could think about itself and also about the relations they have with the others.
Haunted by the threat of display this was the only chamce to frame him without beinb caught looking. He wws silent anr serioud at the beginning. How would ne, they, not be? They know that we were in exppectation; ghay we were conjscturing what would be next.
The paradox about the act is that it could if the actors were able to assure us to be haunted by dreads of disclosure. Everyone in that chair is someone, who feels, thinks, and lives moments and shares things about and with others. The narrator was giving us the access to a plausible truer voice of all of the persons in front of us. The play enrolls with denotation (why else would they use their real names, names that I already know?), that makes me believe they are telling something about themselves. That activates a shadow over everyone: that they will be next in that game of revelation. Then, how can you laugh with the about the fellow next to you? Wont you be the next to be told about? And what will the storyteller let others know about you? Ok, the performers know the text. But I dont. If they laugh I get caught in his grin and lose the tone of the text. They lost the manners that give reliability to the extent of my belief in the act.

During the intermezzos Marko and I have been talking about the needs to discuss the projects in process. How do the artists allow people to enter into points for a view with them? In what extent do artists really need the audiences feedback - besides cheerios that makes everyone glow? How do we relate with that necessity? I address the same questioning to myself but I dont stage the audience; I was never able to sat them and tell them hey, this is important, let me know more about what you think.

There is certain randomness in the act of producing something. You can call it inspiration, brainstorming, creativity, poetic revelation but arguing that there was no meaning or use It might not have any at the beginning but you are adding a direction to things; a specific act is empowered and by that privileged. That constitutes a basic principle of meaning elaboration.
The Perfect Partners departed from things they wanted to use but, according to Nuno, ahd no meanunng altogether. There is no need to be denotative. Dance, d rawing, body utter their own truth. How can you write a body? Does body fit in words and meaning in the strict sense of the concept)? Doesnt w body utter a truth inextricabl y hidden under the skin?
Antonio sang. Voice is the most pervasive and performatic gesture its pure utterance of the body, shapeless, untouchable, evading a body to trespass another. I couldnt break away from the fascination about the love motto and the singers need for papers (with the lyrics?). He was singing that true love will find you in the end but what his body was letting us know is that love needs a script.
From the start I was waiting Pieter tk drop pants it was emphasized at the beginning thzt likds to do so. Then thay qll did it; borroaed Pieters ahd mimicry it. If the act was about the get-together of the three, dropping pants was the univocal gesture that confirmed us the agreement beetween themselves; aagd my fascination about yourr beautfiul legs. The upshot wzsnt Pieters comphlsion to drop any longer. If this is a display of of what the performers are cooking their investigations, whats the upcoming history for thus collaboration? What will do from what is done?

I didnt tell Marko but I question myself whereas the artists hear other artists arguments. We are never too sharp or too risky in our comments towards other artist projects. This makes me anxious and it shows in my face. How can my comment give an account satisfactory for the feedback you need? I dont have the capability to interact with people I never talked before there is no possibility of touch so there cant be possibility of relating with. That is why I decide to bore Perrine with this letter.

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Here is that sweet little Thai girl playing with a jump rope.  She is so tiny and hot looking.  Just look at that tight body with those small teen tits.  Tussinee has a lot of energy she is always playing around and likes to have fun.  Sex with her is so exciting and fun she never wants to quit, having all that energy is sure nice.  In this photo set she is outside playing around in her white skirt and see thru top.  Click on the image to view the photos of this hot lttle asian girl.

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